Vijay Seshadri

From Milton (Satan) to Dryden to Dr. Johnson to Coleridge to De Quincey to Melville (Ahab) to Woolf to Auden to Jerome Robbins, Leonard Bernstein, and Stephen Sondheim to Kurosawa (Throne of Blood and Ran) to Peter Brook (The Mahabharata) to Julie Taymor to Taylor Swift...writers, artists, performers, and thinkers in the West, the East, and the South have gained enormous mileage by appropriating, purloining, replying to, adapting, being enraged by, and escaping Shakespeare—or merely by living under his shade. We will plunge into the enormous and still billowing artistic energy generated by this person. We will look at eight major plays, one a week, from every phase of his career—with a sampling of their critical and scholarly paraphernalia—and examine the writerly problems he faced and how he solved them and examine closely his incomparable rhetorical skills. We will try to pluck the heart out of the mystery of this most mysterious artist in order to help ourselves as artists. Conference projects, designed to be presented to the class, can comprehend poetic responses, fictive or dramatic responses, films and multimedia concoctions, or critical or essayistic responses to the entire body of work or to one of its many elements. It has been said that Shakespeare invented the idea of the human. We will think about this. Sonnet sequences are welcome.

Nonfiction writing is defined not by what it is but by what it is not. It is not fiction; but what it is not comprehends a vast territory. We will spend the semester looking at the more unusual, experimental, and lyrical inhabitants of this territory: personal essays masquerading as anthropological studies or paleontological meditations or political screeds; blog posts from medieval Japan and Renaissance France; diaries; poems in the form of diary entries; essays masquerading as poems; micro nonfictions; feuilletons; prose poems passing themselves off as travelogues; koans; sermons; speeches; prayers. We will read a variety of writers from the past (among, but not limited to, Sei Shonagon, Montaigne, Sir Thomas Browne, Wilde, Pessoa, Gandhi, Mandelstam, Elizabeth Bishop, V. S. Naipaul, and the unknown genius who wrote the Book of Job) and from the present (John D’Agata, Bhanu Kapil, Anne Carson, Jonathan Franzen). After the first few weeks, we will alternate, week-by-week, sessions discussing reading with sessions discussing student work. Conference work will comprise discussion of reading tailored to individual students and the equivalent of two large pieces of writing in whatever form student and instructor agree upon.

In this omnibus nonfiction writing class, we will encounter and examine over the course of a year a range of literary, artistic, social, and historical phenomena—from plays by Shakespeare and poems by Whitman, to selections from autobiographies of Gandhi and Malcolm X and Virginia Woolf, to films and memoirs of identity and gender liberation, to a classic documentary about the terminal ward of a great Northeastern-seaboard hospital, to an oral history of a poor neighborhood in Mexico City, to artwork in New York museums and current art exhibits in Chelsea, to sports events and contemporaneous political conflicts, to masterworks of modernist nonfiction experimentation. In response to this range and overflowing variety of material, students will be asked to write accurately and cogently, in the tradition of various nonfiction genres, designed to capture one aspect or another of these encounters with reality. We will write impersonal work—reportage, reviews, journalistic profiles, editorials; and we will write highly personal pieces involving the life experiences of each of us in relation to what we encounter—personal essays, memoir fragments, hybrid pieces that experiment with form, that create their own genre, that allow us to fully explore our subjectivity and our unique points of view. We will work out the rhetorical and investigative techniques, whereby the truth of experience is represented on the page. We will also look at the many ways in which language can be used to distort, obscure, and evade the truth. We will think practically and will think philosophically about representing reality. We will develop our voices and our control of words, sentences, paragraphs, and larger units. Our biases will tend toward clarity of thought and beauty of expression. In this course, there will be weekly conferences for the first six weeks and biweekly conferences thereafter.

As central to the historical development of the modern essay as its concern with personal experience is the essay's usefulness in politics and the representation of political experience. Essays have the potential to be polemical, informative, argumentative, lyrical, intimate, or condemnatory. It can narrate and describe, it can persuade or cajole, or it can satirize. As an open, improvisational form, the essay is particularly suited to giving depth to individual experience by placing that experience in social and political contexts and among allegiances and identities; the essay is also suited to imparting drama to collective experience by locating the individual within his, her, or their social conditions and conflicts. We will follow this give and take in our readings, which will be across the reasonable political spectrum. Some examples: Samuel Taylor Coleridge on William Pitt the Younger; George Orwell on his education; H. L. Mencken on the Presidency; James Baldwin in Switzerland; Joan Didion on the counterculture; Adrienne Rich and Anne Carson on patriarchy; Mike Davis on class and the politics of firefighting in contemporary Los Angeles; and a series of recent editorials and op-eds about our ever-present political crises. These various pieces will be used as models for our own writing, which will range from the small to the medium to the large and will be presented to the class for critique of both their rhetorical realizations and their plausibility or implausibility.

This class will examine and produce a range of work from the journalistic to the critical, from the practical to the mystical, in the vast landscape of arts writing. We will write liner notes, catalogue copy for gallery shows, short reviews, long reviews, critical essays, and deep and subjective interior meditations on our experience of artists and their work. We will read broadly across time—possibly including, but not limited to, Samuel Johnson on Richard Savage, Wordsworth and Coleridge on themselves, Nietzsche on Wagner, Adorno (via Thomas Mann) on Opus 111, V. S. Naipaul on Flaubert, Amiri Baraka on Billie Holiday, Virginia Woolf on Thomas Hardy, Thomas De Quincey on Shakespeare, James Baldwin on Richard Wright, Glenn Gould on Barbra Streisand, Mark Strand on Edward Hopper, Jean-Luc Godard on Nicholas Ray, Pauline Kael on Sam Peckinpah. Students should feel confident in their familiarity with one or two art forms, broadly understood, and should expect, along with the reading, to write several small and two larger (7-12 pages) pieces. Conference work will comprise research projects on those artists or works of art, or both, that class members, in consultation with the instructor, decide are their special province.